“Songs From Before” by Fionnuala Sherry and Other Music.

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Secret Garden’s Fionnuala Sherry stands on her own in Songs from Before

That distinctive  John Edward Betts violin from 1790 is Fionnuala Sherry’s instrument of choice in both live and studio sessions. And like her choice of instrument, the style of most songs in her album Songs from Before (released in 2011 by  Hearts of Space Records) never stray far away from  the subtle mood of Secret Garden-with notable exceptions in some tracks. I am talking about the stunning rhythmic drum work in Lark in Clear Air and the experimental/ambient style of My Lagan Love. screen-shot-2017-02-28-at-8-19-30-pm

Songs from Before is clearly a nod to Irish traditional music but with modern arrangements, and sans the neo-classical style of Secret Garden. Perhaps there will always be challenges in projects like this one. Will be some of the parts be any lesser than the whole? Will her musical efforts get noticed away from the shadow of million-selling duo that are Secret Garden? But many have ventured this path: Lisa Gerrard of Dead Can Dance, Moya Brennan of Clannad and even Karen Matheson of Capercaillie, among others. I think her strength is in her classical discipline. Couple that with her pop sensibilities and you get a modern album that is also timeless due to its traditional spirit.

I remember one early morning while riding the bike. I was playing this album through my bluetooth speaker attached to my messenger bag. I stopped by a bridge just in time for Lark in Clear Air to play. And it was quite a musical moment.The sweeping view and the stately sound seemed to have created that synergy which was spiritual. I understand that her music is always rooted in nature. There is something organic and soothing about her style. It’s like being inclosed in a thick foliage. It is a private moment keeping the world at bay. Even if it’s just for a span of forty minutes. And it is good enough.

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Have you gotten your own copy of Canvas by Moya Brennan? Yes it is out now. Here’s the editorial review via Amazon:

CANVAS is the ninth solo album from the First Lady of Celtic Music, Moya Brennan. This collection of original songs is steeped in her Celtic roots – Moya comes from Donegal in the NW of Ireland. But, more than ever before, the album has a contemporary twist due in no small part to her co-writers/ composers, daughter Aisling and son Paul, both in their early twenties with strong ambient electronica and contemporary singer-songwriter influences. Moya s haunting, ethereal, vocals have been her unique hallmark both in her years with Celtic music pioneers, Clannad, and in her own solo recordings and film work. The album contains some songs in Moya s native language, Gaeilge, while other songs celebrate, for instance, elemental/environmental themes or lament the child victims of needless war and conflict. Musically the record unveils a spectrum from poignant, fragile beauty through to dramatic, symphonic peaks. The album title comes from Moya s rediscovery of her love for painting. She painted the cover and art featured throughout the CD package. Canvas combines the simplicity, depth and beauty of the extraordinary skills which makes Moya unique in her field. Grammy award winner Moya has sung on most of the world s great stages and has collaborated with many notable artists including Bono, The Chieftains, Bruce Hornsby and Robert Plant. Among her movie credits is her collaboration (and co-writing of the end title song) with Hans Zimmer on King Arthur.

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For Drum Fannatics!

This is interesting! As a percussion enthusiast this is a great find for me. Big thanks to Matthew Bell for pointing this out to me. More about this project from Contemporary Bodhran:

www.kitchatham.com
www.contemporarybodhran.com
Kit Chatham, Matthew Bell, Alex Kuldell, Josh Dukes, and Ryan Mullins play a variety of percussion and stringed instruments in a Genre-defying instrumental mashup. Features Mandolin, Banjo, Highland Bagpipes, Jaw Harp, Irish Flute, Guitar, Kanjira, Pipe Band Snare, Rope Tension Bass Drum, Rope Tension Snare Drum, Bodhrán, tabla, drumset, and programmed percussion.

There you have it for now.

Moving Up with Latitude-Rant Maggie Rant.

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Lindsay Schindler (fiddle, vocals)

Glen Dias (lead vocals, recorder and incidental percussion)

Barry James Payne (acoustic guitar, bouzouki, harmonica, vocals)

Rob Larose (drums & percussion)

Steve Clarke (electric and upright bass)

Daev Clysdale (Irish Flute, whistles, accordion).

Additional musicians have also included Alberto Suarez (drums & percussion), Graham Hargrove (drums & percussion), Jay Rheil (drums & percussion), Loretto Reid (Irish Flute, whistles, concertina & button accordion), Dave Nuttall (Irish whistles and wind instruments) and Pat O’Gorman (pipes, Irish flute and whistles).

So happy to finally get my hands on the newest CD of Rant Maggie Rant called Latitude. They made a good buzz prior to the album’s release. Such things are always helpful. The packaging is amazing. The liner notes and artwork give the album a premium feel. You can really tell a lot of thinking went into the conception of Latitude.

I am a big fan of the recorder. In fact the first wind instrument that I picked up was a soprano recorder. The tenor recorder on the other hand has a mellow and mellifluous sound. In the hands of an expert like Glen Diaz, the instrument becomes a powerful tool of universal expression. The best moments are when it goes into duet with Lindsay Schindler’s fiddle. Perhaps other bands have already tried this combination but this is the first time for me. And if you think their recorded music is amazing, you should also see their live shows. They are highly entertaining.

Huge appreciation goes Barry James Payne for providing the golden sound of the acoustic guitar and other instruments. Rob Larose kept everything lively and bombastic. And drums need the groovy bass of Steve Clark-and together they are incredible. Daev Clysdale on the other hand keeps that distinctive Irish feel. Check out the liner notes for details on additional musicians who appeared in this recording.

Their musical efforts did not go unnoticed. As a band, they already picked up the Australian Celtic Award  for International Artist of the Year in 2015. They also got the Jack Richardson Music Award for Traditional Folk/Roots and got nominated 9 times for Traditional Folk/Roots, World Music and Celtic Awards. Their eclectic music is the result of their individual artistic influences. Their website notes that their  sound is a fusion of Latin and Mediterranean rhythms, African hand drumming and percussion, blues/rock guitar backdrops, revved up tempos, unexpected time changes, and a unique rhythmic attack take their listeners on a journey to several cultural musical landmarks. 

The twelve tracks will satisfy your eclectic spirit. It’s like my experience drinking tea infused with different flavors. It always leaves you smiling. Latitude also arrived just  when I am rediscovering my love for World Music. Which reminds me that fans of Jazz and Latin music should get this album!

The Spinning Wheel: A Refreshing Acoustic Folk Album!

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The minimalist approach of Darren Lynch is comparable to a nice breathing room after the madness of the rush hour.  

Dublin born folk musician and writer Darren Lynch is full of surprises. According to his bio, he started off playing music after finishing a successful amateur boxing career with Crumlin Boxing Club. His first instrument was the banjo which progressed to mandolin and then mandola. I became familiar with his music after listening to his first musical project, The Feekers. They released Tarbolten in 2012. When The Feekers parted ways he continued to explore other creative avenues.

His first novel ‘Siltation’ was published in 2013. All the proceeds from this book are donated to The Irish Cancer Society. If you haven’t read it yet, I urge you to do so. His prose is astounding, giving you a glimpse of Dublin through his character’s eyes. After the release of Siltation, he started performing around Dublin. The audience took note of his intricate bouzouki work with The Ballyfermot Rakes.

The Spinning Wheel.

Personel:

Darren Lynch: Bouzouki, Vocals

Derek Copley: Banjo, Mandolin

Ais Conway Keogh: Fiddle

Produced by: Darren Lynch

Recording Engineer: Gareth Desmond, Loop Studio’s

Photography: Joe Butler

From the sleeve notes:

This album is a collection of some of the songs I have sang over the past 15 years or more. Groups such as The Fureys, The Dubliners and Sweeney’s Men –  as well as singers like Pecker Dunne and Brendan Behan – did not merely perform these songs, but offered them to listeners as their own story. 

This is testament to the timeless quality of the art of the folk song and the stories of yesterday, which stand the test of time and filter into the future by their ability to resonate with every era. This is an album of my renditions of these timeless stories.

The Spinning Wheel is a testament to the enduring power of folk music. No technology or fad can destroy its spirit as the music of the people. He sings in the tradition of such greats as Luka Bloom, Andy Irvine and Christy Moore.

The bouzouki is an expressive instrument. It evokes that  ‘afternoon sunshine in the woods’ kind of feeling. There is something organic and sonorous about it especially when played with low chords. And of course there’s his vocal delivery which is timeless in its simplicity and its adherence to tradition. Both his voice and instrument deliver unparalleled expressive power.

Other artists  also appeared in the recording session, notably two virtuoso musicians: Banjo/mandolin player Derek Copeley and fiddler Ais Conway. Recording Engineer Gareth Desmond provided the clean and warm palette to the recording. I like his mixing method especially when it comes to the high-end  and low-end of the sonic spectrum. He takes us  to the surface of the sound, achieving this intimate and airy kind of recording  characteristic.

The rendition of The Wind That Shakes The Barley  (written by Robert Dwyer Joyce (1836–1883)is a refreshing take on this popular track already covered by diverse artists as Loreena McKennitt, Lisa Gerrard, Amanda Palmer, The Clancy Brothers among others.

Dance To Your Daddy showcases his eclectic choice of materials. For those unfamiliar, the track is actually a traditional English folk song that originated in North East England. According to Wikipedia, it was popularised as the theme tune to the 1970s BBC drama serial When The Boat Comes In in an arrangement by the composer David Fanshawe.

Overall, The Spinning Wheel is a satisfying album. It has a pace that moves forward regardless of the tempo. And it is a work of art in its simplicity.

The Spinning Wheel is a high achievement for a singer-songwriter  who performs with bloody passion and then, quietly leaving us with our senses on fire.

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Máiréad Nesbitt Brings the Primal Energy of Irish Music with Hibernia.

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MÁIRÉAD NESBITT – CELTIC VIOLIN

WITH KARL NESBITT – FLUTE, LOW WHISTLE, BOUZOUKI, DIDJERIDOO. MICK O’BRIEN – UILLEANN PIPES & WHISTLE.

OTHER GUEST MUSICIANS:

KATHLEEN NESBITT – FIDDLE, JOHN NESBITT – ACCORDION, SEÁN NESBITT-ACCORDION, NATHAN PACHECO – VOCAL, NOEL ECCLES- PERCUSSION, NICK BAILEY- PERCUSSION. CASHEL SET DANCERS: GRÁINNE UÍ CHAOMHÁNAIGH, ÁINE CODY, BERNIE SULLIVAN AND COLEMAN LYDON.
THE ORCHESTRA OF IRELAND: LEADER KENNETH RICE. CONDUCTED BY LIAM BATES.

 

It is past one in the morning and I am listening to Hibernia by Máiréad Nesbitt. After many live performances all over the world and being on stage viewed by thousands of people, confidence and sheer talent have been translated into this album of fifteen tunes. One thing I am certain even before hearing this album is that she is a musical force unparalleled in any genre.

Hibernia is the classical Latin name for Ireland. Quite fitting as this album resonates her musical discipline and the visual approximation of the new Irish music. NY Times calls her “The demon of a fiddle player.” I think this is accurate because when she takes the stage , she is like a tempest. The energy is infectious! There is that distinctive characteristic about her music that’s both playful and primal.

There are many fantastic tracks in Hibernia. I was surprised when the opening tune Hollowed Fire is a mellow track because the title sounds like it came from the climax of Riverdance. But it is also an appetizer of what’s to come – the motif of the whole album. Her violin playing is pristine as ever, combining cinematic/visual style to a music that is captivating.

Hibernia tracks are representative of her part in Caltic Woman. You  can imagine this played live with her prancing on stage with the rest of the musicians. But unlike Celtic Woman, this is her own solo effort, backed the best musicians in the field. I admit the high points of the album for me are the quieter tunes like the sublime Seán Ó’ Duibhir A Ghleanna. So why Hibernia?

As stated in the liner notes:

Steeped in the traditions of both Classical music and Irish folk music, Máiréad brings the seemingly irreconcilable worlds of the Celts and the Classics together to create an exhilarating album of the music and tunes of Éire. HIBERNIA, the Classical name for Ireland, features beautiful slow airs, vocals, lively dance tunes, and ferocious, fast-paced reels all anchored by Máiréad’s stunning violin performances. The album features orchestral suites of all original music by Máiréad herself, along with Colm Ó Foghlú and Liam Bates.

For the virgin ears, Hibernia combines the grand tradition of Celtic woman but it is also grounded to the intimate elements of traditional Irish music- which is her her as an artist after the last album Raining Up. It is also worth noting that this is also a sort of family musical affair. She is joined by her siblings including Karl Nesbitt whom I had the honor to interview in the past. Also added is a unique performance by Nathan Pacheco on To Bring them Home, which is worth anticipating.

Hibernia is(as a recording) a wild Irish fairy on the brink of madness. The excitement, danger and exhilaration are all here. And artistically? She is more like Jimi Hendrix meets Rachmaninov. So expect  enchantment from the one and only Máiréad Nesbitt!mairead-photo

Seastar : Music of the Elements

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Plus: Colm Gavin, Cara Dillon and Solas. 

Since its official release back in August of 2016, Never Go Back has reaped positive reviews from Celtic music fans. I for one, finds The Great Silkie a fascinating song. It’s a wise choice for the band to make it an opening track because it warms you up to the style of other songs. It makes you curious and excited.

Powered by the beautiful voice of Fae Wiedenhoeft, this album of fourteen tracks succeeds in its intention of inspiring diverse listeners. The band’s musical style is fresh, friendly  and also easy. What I mean when I say ‘easy’ is that it transcends the genre. Whither you are into Bluegrass, Jazz, Rock or Folk music, this album certainly has something for everyone.

The percussive element of Never Go Back is also what drives listeners to stick around. It never gets boring or draggy. Seastar have a rich sound palette because of their love and mastery of many instruments. Experimenting with scales is also one of the album’s many strengths- as evident in their official single Never Go Back- as well as other songs that project their expertise in World Music.seastar22_large

Now, I checked out the bio of all members and I noticed each has his own history. For example, Ron Allen not only sings and plays the guitars but he is also the owner of Four Lumen Studio in Kirkland, Washington. Captain (born Adam Shea Chambers) plays the bass and he is also a film maker, poet, and novelist. Michael Falcone, aside from being a synth wiz, vocalist and percussionist; is also a filmmaker, voice-over artist and film location scout. Fae(who is the captivating voice of the band) is also an award-winning songwriter and a member of the Grammy Association.

If there is this element that connects the band , then it has to be their love for visual arts. And it all makes sense. If you listen to Never Go Back, you can get that sense of being transported to different places and time with each song. They love adding texture and attitude to each of the instruments used in various songs. And at times I think the instruments are voicing their own story behind the story of the song-writer.

I think Never Go Back deserves an award of sorts for bringing people to the simplistic, down-to earth aspect of Celtic music. It is an album that can feel at home in the trendy but intimate atmosphere of coffee shops or the green sunny warmth of outdoors. And I can certainly ride my bike to these songs. They are so alive, so one with the earth, wind, fire and water.

Visit the official site of the band: http://jetbutterfly.com/band/index.html

Facebook: seastarsings

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Colm Gavin

Now, I ‘discovered’ Colm Gavin through an Enya Official forum around two years ago (with the release of Dark Sky Island) as the young lad whom she took an Instagram selfie with (she treated him for a pint of beer). He is also a frequent guest of Leo’s Tavern and at times  he backs Moya Brennan of Clannad during the tavern concerts(the notable one was a tribute to the late Leo Brennan).

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Enya & I, Leos Tavern, NYE 👌🏻

 

I got intrigued and I followed him on Instagram whom he frequently posts updates as well as snippets of new songs. Her certainly has an amazing talent. A natural tenor and a good interpreter of Irish folk tunes (as well as good in writing his original material), I think he will definitely be Ireland’s notable musical names in the future. Watch out for him!

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Cara Dillon & Solas

I’ve been sharing this video to friends this morning. It is such an amazing interpretation of the traditional Irish song. Cara Dillon has a voice of an angel. I’ve been a fan for six years since I got my hands on After the Morning. She is with Solas-another band that you should not miss!